I guess in some way it's the result of my curiosity and my interest in many artistic fields, such as traditional art forms, digital art, typography and photography. The first thing I got really hooked on was graffiti, I learned the basics of colors, how to compose objects etc. but after a while I got more and more interested in digital art. Programs like Photoshop and illustrator became the perfect tools to develop my ideas, giving me a lot more creative freedom and opportunities than a spraycan. I see an artist or a designer as someone who is constantly improving. I always try to push the boundaries of my technical skills and aesthetical depth, experimenting with new things, approaching ideas and themes from different perspectives but still keeping a line that's going trough all of my work. I find it hard to explain how I created, or define my style, I think sometimes creating art underlies a very subliminal process.

One of my favourite series of yours was the 'At the...' range, where you went and bombed some great old sites. Tell us a bit about this project - some of the designs you dropped were so clean, I couldn't believe they weren't vectors!

I can't really remember how and when I got so attracted to old buildings and factories. Basically I like painting on everything that's old and rusty. In the beginning, me and a friend started looking for old abandoned buildings, we had done a lot of stuff in and around Vienna, as well as the halls of fame, and got kind of bored with regular walls. Our goal was to have time and being able to paint all day, but on unusual spots in extraordinary places. I think what really got me addicted to it was this incredible huge cement factory outside Vienna we discovered years ago. This place has been abandoned for around 15 years and the first time when we got there, it looked like it was left days ago. It was so exciting to explore this place and the surrounding; there is a big wood next to this place and even a nice little pond. We started by walking around everywhere, exploring all the rooms and halls, machines, offices, even the basements and the roofs, not knowing what spot to paint first. This was also the time when I noticed the importance of a good shot, showing the piece with the surrounding, and the great contrast between bright colors and clean shapes on ruined surfaces, rough concrete or rusty steel. We spent so many weekends there painting crazy spots, some up on 40 meters height and more, relaxing on the rooftops in the sun, basically having a good time all day long. I guess, that was the time when I knew that this was exactly what I wanted to do, it's like a little adventure. We know a lot of old and abandoned places in and around Vienna, and everyone who is doing old sites knows our stuff. I also like the fact that some pieces were gone after a week because they pulled down the building, and yet there's still some real old pieces are still out there.

I've always been a perfectionist when it comes to creative things, and I always try to push the limits, concerning graffiti, painting as clean as possible is one of them. There is such a big variety of styles in graffiti, that I always tried to do something different with my personal touch, I try do abstract letter-forms as much as possible as well as the overall form and composition of the piece. I usually start with a sketch on paper and then trace it in illustrator, by doing that I can easily change the letters and colors by adding or removing several parts. I started to develop a real clean and polished style with comic and graphic elements by tracing my sketches. First I printed the finished results and used them as reference, but after a while I simply took photos of my screen and painted them off my camera display, this was also a good way to get rid of evidence really quick, just in case.

I often use stencils to add some graphic elements, and skinny caps to get clean lines, which resolves in a very graphical look. Most of the time I use regular white wall color to fill out the sketch and all the parts that will be painted afterwards, you end up with real bright colors. Sometimes it can be pretty hard if you have to get a 20 Liter bucket up on a roof by climbing up a ladder to another roof. But this is all part of the process, you have to find a way to the spot you want to do and you have to know where to take the best photo of the spot. I'm often using a tripod for inside spots, sometimes I take shots at different daytimes to get the best lightning.

I'm really excited about the most recent project I've done with Desktopdesign. I had lots of fun doing the designs and creating a unique artwork, engraving parts of the table's frame by hand while having control over most of the production process. There's definitely more to come on this sector since this was only the first customized table we've done. I'm also developing a series of wallpapers with them, in a very clean and modernist way. Experimenting with forms and colors to do some cool patterns was great, for example optical illusions, I worked with very detailed thin lines creating shapes which turn into solid color when viewed from a distance. You can also achieve really nice effects with the use of gradients.

After showing my tables at the "Blickfang 2009', a international design fair presenting innovative product design, fashion and jewellery each year here in Vienna, I received some really good feedback, a company from Austria which produces high end tubs, showers, and bath accessories showed interest in my work. I'm going to create really clean and reduced designs for them, which will then be applied to glass walls and the covering of the tub. This is going to be another opportunity to expand my working fields and seeing my works implemented to new materials, I'm also interested in printing designs on tableware and ceramic accessories in the future.

I am trying to build up a little network with creatives here in Vienna such as fine art printers, or small production facilities with the focus on design, galleries, as well as photographers. This brings up new opportunities, you get to meet interesting people that inspire you, but also face new challenges in producing artworks or product design.

I've always appreciated Raphael's work, and it was about time to do a collab with him. I can't remember who actually had the idea but this turned out to be a really smooth and easy thing. Raphael just sent over a piece he had done a while ago, and I continued working on it. I started by cleaning it all up a little and get some of my touch in it. To me, the center of attention was always his great drawing; actually I just decorated it and tried to find the right composition and balance of our styles. I'd really like to work with him on another more complex piece, maybe with a good concept. So if you read this Raphael, I'm up for another collab anytime.

It's been a while since my last collaborative artwork, so I'm glad the one with Raphael turned out really well. I'm looking forward to do more with other Depthcore members.

When I started to develop designs for Desktopdesign, I knew I had to do more with the circles. I think it's a pretty fun way to illustrate things, so the first two images were more abstract, "Peace of mind" for example, I really like the colors and the mood here, I had a good flow while working on it, sometimes it's hard to decide when piece is finished, or you're not sure if there's still something missing. I was really satisfied with the finished result. Working on "Where Nothing Ever Happened", I tried mixing illustrative elements like the bird and the butterfly with abstract scenery, all the overlaying shapes and the white spaces being broken up by the thin outlines made this look really nice. I feel I can still improve this technique a lot and try new things.

"Disintegrate" was also fun to do, I used a font I've created, and started to apply some effects and materials in cinema. I've been really inspired by high-speed photography and short takes, I wanted to visualize an explosion or an impact. This is also a field I'm really interested in, I'm planning to use a high speed camera to work on some projects and setting up little amateur photo studio with a light box and a background support.

I'm aiming to do more traditional art. I'm really excited by the idea of reworking fine art prints with the help of traditional techniques such as water colors, acrylic or spraycans, stencils etc., but also areas like product- and experimental photography are very interesting.

To decide which chapter I like best is nearly impossible, all of them got awesome works and are unique in its own way. But Noir and the most recent ones probably had the biggest impact on me. Noir has some real classy and timeless work; I also like the idea of having a whole chapter in black and white only.

I remember when I got invited to DC about 5 years ago, I think Habitat was the first chapter I contributed works to, it really put the pressure on me to deliver quality work but I think over the years I grew a lot with Depthcore, and I'm really thankful for it.

I have always been motivated and inspired by other members and this really pushed me to expand my skills and helped me getting to where I'm at. Your opinion of my works became really important to me and it's still like a seal for good quality and feedback. Integrating workshops has become a great opportunity to improve pieces and concepts; I've also been surprised of the consistency of suggestions and feedback, which makes this a really useful function.

Thinking of the past, I really miss some of the old-schoolers, I lost contact to a lot of them, such as fake, sec, Gavin, Xerox, monografik, bccb, designprimitive, and I'd like to know what happened to bsides, I don't know if he ever contributed much to dc but I remember his work was awesome back then in the good old deviant art days.

Oh there's a lot on my mind, I'd like to move somewhere else for a while to work and connect with all kinds of creative people. I also try to gain more exposure in the national and international art and design scene, as well as being featured in publications and exhibitions. However, right now I really enjoy the creative freedom I haveÂ Â being able to spend a lot of time on my personal art projects but also choosing commercial projects that appeal to me.

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